O’zbekiston respublikasi oliy va o’rta maxsus ta’lim vazirligi buxoro davlat universiteti viloyat to’xsanova

DEVELOPMENT OF THE ART OF GANCH CARVING 
The art of ganch carving is one of the oldest forms of applied art, and 
occupies a worthy place in the architecture and construction of the East. 
Especially in Central Asia, the works created have a peculiar composition and 
method of applying patterns. In modern Uzbekistan, many monuments of 
architecture, where there are examples of the art of ganch carving or carved 
patterns of plaster are protected by the state, as this kind of art is valued by the 
people. The art of ganch carving has evolved over the centuries, while 
preserving the best traditions that were entrusted by ancestors and former 

---

180 
masters. Studying the history of the art of ganch carving in the middle ages or 
in the twentieth century to this day, you can see a big difference between the art 
of that time and the present. In ancient times, portrayed mainly realistic objects. 
Found segments VII-Viiivv. Bukhara Palace in the settlement of Varakhsha is 
evidence of this. In these fragments you can see drawings and images of birds, 
fish, animals, geometric shapes and much more, of course, and the technique of 
application is also different.
After the conquest of Central Asia by the Arabs and the adoption of 
Islam, images of living creatures, birds, fish, animals were banned, as the 
religion of Islam forbade the depiction of living creatures. This can be traced in 
the architectural and historical monuments of Central Asia. Especially in the 
settlement of varakhshi in VII-VIII centuries many different objects and 
fragments of ganch carving had been preserved. Although the art of ganch 
carving is one of the oldest forms of applied art in Uzbekistan, it has not lost its 
properties to date. The first Union of craftsmen in Uzbekistan was formed in 
1918. The main goal of the Union was to preserve Handicrafts, conduct 
research, and develop economic leverage for the development of the industry. 
Distribution and introduction in production, opening of schools and introduction 
in school process of training, creation of artels and handicraft centers and many 
other things. In 1918-1920, the Union of artisans established in Tashkent an 
exemplary training workshop for local lore artisans and a Museum on folk 
Handicrafts. The first exhibits of the Museum were samples of the art of carving 
ganch and wood, the art of drawing patterns-nakkoshi and much more.
Uzbek craftsmen participated in their works in Paris in 1925, 1924 in 
Leipzig, 1937 again in Paris and were awarded high awards and international 
recognition, awarded two silver and one gold medals and the prize "Grand Prix". 
Uzbek masters of ganch restored architectural complex in the style of muqarna 
(akarna – is ganch, usually this style is used when applying the input part of the 
mosques and madrassahs here the patterns are cut in several layers), thin and 
delicate work and carving.Folk craftsmen gave a second life to architectural 
monuments such as the Kalyan Minaret(XII century), Sherdor madrassah (XVII 
century), Abdulazizkhan Madrassah(XVII century), and many other 
architectural and historical monuments of the country. In the restoration work, 
the masters of ganch carving and artisans put all their soul and skill, love and 
knowledge of their craft.
It is the master of ganch – Usto Shirin Murodov, Soribada, and 
Abdurakhimov from Bukhara, Rashid Jalilov, Shamsiddinova, Abdurashidov, 
Akrom Umarov and others. 
In 1947, under the leadership of architect A. Mukhammadamin, 
Tashkent Chimes were built, Usto Shirin Murodov participated in the 
construction of chimes. Usto Shirin Murodov performed compositional work of 
ganch carving patterns at the highest level. Ganch carving works are selected 
according to the architectural style of the building. A summary of the column of 

---

181 
glory (the glory is the column arranged on top of a building or structure), the 
lattice chimes made by ganch carving. The consolidated columns of Sharaf are 
executed in the style of "Mukarnas" and "Iroki" (mukarnas and iroki are styles 
of ganch carving meaning mukarnas-patterns of heaven, iroki - patterns of Iraq). 
Each lattice structure has its own composition, and the edges of the lattice 
matched to the composition of the corresponding chain (chain meaning hoshiya, 
hoshiya-composite extreme patterns). Tashkent chimes to this day, one of the 
sights of the city. On the 500th anniversary of the Great Uzbek writer, the 
founder of the Uzbek literary language, Alisher Navai in 1940, the construction 
of the national theatre building began. In the same year, the theater was awarded 
the name of A. Navai. The construction lasted for about seven years. To give the 
national color and modern aesthetic coloring of the building folk masters and 
craftsmen on the facade and interior decoration used patterns of applied art.
Masters and craftsmen from all regions of the Republic participated in the 
construction of the theater. The facade is decorated with sketches of 
academician of Almaty at the entrance to the foyer, auditorium, living room are 
decorated with sketches of T. Arslankulov. Arslonkulov gathered all the 
masters of ganch carving of the Republic and offered to decorate the foyer 
according to the folk samples of each region merging the style and method into a 
single composition.Arslankulov invited artists to decorate the pavilions at what 
the thread was supposed to meet the common concept of the building and he 
succeeded. 
These are pavilions of Khiva, Bukhara, Samarkand, Tashkent, Fergana 
and Termez. Of these, the pavilions and halls of Khiva and Termez are 
decorated with ancient styles of national ganch pattern. Pavilions and halls of 
Bukhara, Samarkand, Tashkent and Fergana are decorated with more modern 
styles of patterns of national art of ganch carving corresponding to national 
traditions. 
Khiva hall-in this hall the patterns of ganch carving were applied by such 
masters as S. Khudoiberganov, K. Polvonov, B. Bobozhonov, R. Masharipov 
and their students. Patterns are applied in the old way and style. The patterns 
are carved in the form of a medallion and are very similar to The Khiva 
summary patterns of the form "Koshin" (Koshin is the summary patterns on the 
top of the wall of the room). This method of carving a pattern is not very deep in 
nature, usually such carved patterns are applied to the tree and very small 
patterns. 
Termez hall. The composition of patterns of Atahotel drew Usto Shirin 
Murodov in the center of Termez. Work on cutting patterns performed Usto 
Shirin Murodov, O. Nematov and their students. The patterns of the ganch 
carvings resembled those of the twelfth-century palaces of Termez. 
Fergana hall. Patterns ganch and composition complied with the Kokand 
master Sayid Mahmoud of Narkuziev. Carved works were performed, 
Gullmarsplan and many of the Ferghana masters. The upper part of the Fergana 

---

182 
hall is made in the form of ribs and decorated with carved composition. This 
style is a traditional style in Fergana valley. 
The Samarkand room. The composition of the Samarkand hall was 
performed by the laureate of the state prize K. zhalilov and others. The 
composition of this room used geometric patterns in the style,Navion (Navion – 
is ganch), Ruta (Ruta - is ganch, a web), SANIIRI (SANIIRI – is ganch, a 
chain). The upper part of the patterns under the ceiling arches, this part is 
called shift, geometric shapes are applied and they are connected to each other 
by a patterned composition of ISM (ISM - small ganch carving, connecting 
different figures and patterns into one composite ornament).
Bukhara hall. The composition and carvings of this hall were executed 
by Usto Shirin Murodov. He used modern and national styles of carving and 
patterning. His mirror-like down-to-earth style of ganch carving visually 
enlarges the room and reveals the finest compositional ornaments of the pattern. 
Attract amazing complex ornaments caused by the method of sharafa (sharafa – 
one of the ways of applying patterns and ganch carving on a mirror surface or 
with mirror segments), candlesticks or patterns under the chandelier. The old 
master peculiar Bukhara masters performed in the style of tobacco (tobacco-one 
of the styles of cutting patterns on ganch inherent Bukhara masters, tobacco-
means leaf style), the style of "tobacco pardoz", the leaf decorated style 
dominated in this hall. Thanks to the master, this style has come down to our 
days. The master made an amazing chandelier from ganch, and on the top of the 
chandelier installed a domed mukarnas (mukarnas-specially made carved pattern 
with a convex ornament in the form of a dome or an inflatable ball). 
Tashkent hall.The composition of the Tashkent hall was performed by 
Toshpulatarslonkulov. The compositions of guldast (bouquet), sharafa, namoyon 
(display), Rue are made on high relief surfaces. In the design of the Tashkent 
hall Corporatesponsored on a level with tehnikoy and style applying ganch used 
such as composite methods ,Mukarnas, Manunta (IIA), Cacopardo (detachable 
decoration), SANIIRI (arc), Shahbag (Royal petal), and progressional styles "of 
Cherburg" (ceter gon), "Coovachilli" (Commercially), "Palacinky" (woody 
islimi). In 1961, the compositional patterns of the ganchunational academic 
Opera and ballet theatre named after Alisher Navai were reconstructed.
Khorezm is known all over the world for its historical and architectural 
monuments. The Islomkhoji minaret, fahriddinrozi memorial, Juma mosque and 
other monumental monuments of Khorezm are included in the world cultural 
heritage of mankind. These structures stand out for their simplicity and grandeur 
of carved patterns.
Khiva historical and architectural monuments are United in architectural 
ensemble, each of them will stand out compositional feature.
Zhuma mosque patterns are characterized by a diverse palette of colors. 
Carved marble slabs, carved bricks, carved patterns of ganch, beggar made of 
mosaic copulate in a single composition.

---

183 
Khorezm artistic architectural monuments of the XIX century and the 
beginning of the XX Century are collected in the city of Khiva and constitute a 
single architectural ensemble, attracting the attention of the inhabitants of the 
spiral carved ornament. This method of applying patterns, that is, the spiral 
method has been used since ancient times in construction. Even in the III 
Century of the donash era, the built city of Tuprokkala and its palaces, rooms 
were decorated with spiral carved patterns and carved compositions. Monuments 
of the XIX Century are also decorated with spiral carved patterns. 
In Khorezm panoramic architectural ornaments, geometric figures were 
mainly used and differ in the originality of cutting and applying patterns of other 
regions of the Republic. However, they are not very different from other 
ornaments and styles of carving. Particularly distinguished are the plant-eating 
circular patterns and ornaments. In Khorezm are such compositions as, Turunj, 
Kalampir (symol), Madahil. Khorezm carved ganch composition is reminiscent 
mainly of the composition is embroidered on Suzanis. Looking at the mysterious 
patterns applied in the style of Koshin (Koshin-extreme patterns of ornament), 
we can come to the conclusion that the carving of ganch and wood is not too 
developed in Khorezm, but they differ in the originality of the composition of 
the ornament. Although there were many masters of ganch carving, not every 
one of them could apply compositional drawings and ornament, so the masters 
were forced to turn to masters who know how to apply drawings. 
Masters know how to apply compositional drawings Girih called gyrator 
(gyrator means master able to put pictures way girih or style girih, the master 
Carver of the patterns have been correctly cut out the patterns, i.e. the slope and 
depth must conform to this style). These masters as Hudoyberganova, 
Amuhammediyev, brothers Vafo and Bolt Mirzaeva, Joinies of Saidmetov, 
Matekon of Jonibekov, Hudoyberganov and others. 
The Khiva masters carving hanoulle not only to cut out the patterns, but 
knew poetry, history, music, and studied at the madrasah. In the old days, master 
craftsmen were not only artisans but educated, intellectual personalities. Only 
educated people were considered real masters, carvers of patterns. They learned 
to play musical instruments, played musical instruments and for many years 
engaged in applied arts. 
The art of ganch carving by Khorezm masters developed over the centuries. 
And now many buildings under construction today are decorated with carved 
patterns of ganch and wood, many of which are masterpieces of applied art. 
Works of applied art and ganch carving can be found on the facades of buildings 
and in halls, museums and hotels, exhibition halls and storerooms, in houses and 
rooms, and many other places. 
The art of ganch carving is one of the oldest forms of art that is used in 
construction and architecture, particularly in Central Asia, Iran, Turkey, Arabia, 
Afghanistan and many Eastern countries. Works of art of ganch carving created 
in Central Asia differ from others in that they are distinguished by composition 

---

184 
and artistry. Today, this kind of art is highly appreciated and gaining popularity 
among the people, is widely used in construction as a kind of decorative and 
applied art. 
The art of ganch carving developed in a peculiar way. Considering the 
samples of art of the ancient, middle ages and early twentieth century, you can 
see the difference between the styles and methods of carving. In ancient times, 
carvings were applied in a simpler way, and depicted mostly realistic objects 
such as plants, animals, and sometimes people or silhouettes of people. Then in 
later periods drawings and patterns became more obstructive containing a deep 
philosophical meaning.
In the X-x Centuries carving on stone, wood and ganch took a new round 
of development. After the conquest of Central Asia by the Arabs and the 
adoption of Islam, images of living creatures, birds, fish, animals were banned, 
as the religion of Islam forbade the depiction of living creatures. Patterns and 
patterns became obstructive. Ganch carving began to be used in internal and 
external facades, where there is little damp and moisture. In the XIII century, the 
art of carving ganch received a new round of development, a striking example 
found in Afghanistan fragments and frescoes. 
Ganch carving is one of the ancient art forms that existed in Tashkent. 
Prominent representatives of the Tashkent school of ganch carving were Usmon 
Ikromova, Usto Toshpulat Arslonkulov, Mahmud Usmonov, Khayet 
Abdullayev, ziedullo Yusupov, Tohir Umarov and many others. In 1918-1920, 
the Association of artisans, the local history handicraft Union and the 
educational – model workshop and Museum of the national handicraft Museum 
were established in Tashkent. Artisans won two Grand Prix in Paris at the 
exhibition "Art and technology today" in 1937. 1947 under the leadership of 
architect A. mukhammadzhon the building of "Chimes" popularly referred to as 
Tashkent chimes was built. Usto Shirin Murodov participated in the decoration 
of the Chimes.
In 1947, the national Opera and ballet theatre named after Alisher Navai 
was completed in Uzbekistan under the guidance of architect Alexei Shusev. 
The theater has become a Treasury of Uzbek national architectural culture, 
which reflected the best examples of national applied art. 
Tashkent school of ganch carving stands out among other schools for its 
refinement, symmetry and grace of patterns combining unusual compositional 
ornaments. 
One of the famous masters of ganch carving Toshpulat Arslonkulov was 
born in a family of masters in Tashkent in 1882. Father Arslonkul Nazarov was 
one of the famous masters of the time and took his son as an apprentice from the 
age of twelve. Arslonkul Nazarov constantly took his son to work and taught 
him the intricacies of the craft, from the basics to the composition of complex 
compositional ornaments. Toshpulat Arslankulov worked mainly in the style of 
"Cacopardo" (cacopardo is one of the styles and ways of drawing patterns 

---

185 
ganch). At the end of the XIX century, father and son built and decorated with 
patterns the house of the famous merchant of the time Yusuf Dovudov located 
on Uzbekistan street in Tashkent. When making a home and applying patterns 
masterful the dimensions of the room and the house, the lighting and time of day 
for applying composite patterns, thickness and depth of the patterns. The merit 
of the masters lies in the fact that they were able to combine national traditional 
styles with modern ones, which allowed to create a structurally new way and 
style of cutting patterns on ganch. Most of the works of famous masters were 
recognized by the international community and art connoisseurs.